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“…Certain cultural fields are intricately linked and in permanent mutation, giving rise to subgenres and new cultural phenomena. In the specialist literature we encounter the terms graffiti (Ferrell, 1996;Macdonald, 2001;Phillips, 1996), post-graffiti (Waclawek, 2011, graffiti art (Austin, 2001(Austin, , 2010Novak, 2017;Stewart, 2009), subway art (Cooper and Chalfant, 1984), muralism (Mendelson-Shwartz and Mualam, 2020), street art (Bengtsen, 2014;Schacter, 2014;Young, 2014), or urban art (Blanché, 2015;Campos, 2021;Campos and Barbio, 2021;Hoppe, 2014;Pavoni, 2019). Often these terms overlap and get mixed up.…”
Section: Urban Subculturesmentioning
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“…Certain cultural fields are intricately linked and in permanent mutation, giving rise to subgenres and new cultural phenomena. In the specialist literature we encounter the terms graffiti (Ferrell, 1996;Macdonald, 2001;Phillips, 1996), post-graffiti (Waclawek, 2011, graffiti art (Austin, 2001(Austin, , 2010Novak, 2017;Stewart, 2009), subway art (Cooper and Chalfant, 1984), muralism (Mendelson-Shwartz and Mualam, 2020), street art (Bengtsen, 2014;Schacter, 2014;Young, 2014), or urban art (Blanché, 2015;Campos, 2021;Campos and Barbio, 2021;Hoppe, 2014;Pavoni, 2019). Often these terms overlap and get mixed up.…”
Section: Urban Subculturesmentioning
“…However, it is also important to mention that, in parallel to the more punitive and antagonistic initiatives from public authorities, processes gradually emerged that edge towards finding common ground and encouraging collaborative approaches. Since the turn of the millennium, academic surveys have placed significant focus on this growing tendency in several cities, particularly on the higher incentives for the production of urban art regulated by local authorities (Campos, 2021;Campos and Barbio, 2021;Guinard and Margier, 2017;Mendelson-Shwartz and Mualam, 2020;Novak and Yousof, 2014;Raposo, 2019). São Paulo followed this trend.…”
Section: Urban Subculturesmentioning
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“…Por um lado, desvendam questões relativas à produção do espaço urbano e aos conflitos que daí podem surgir, nomeadamente no que respeita à gentrificação ou turistificação (Andron, 2018;Campos e Sequeira, 2020;Evans, 2016;Young, 2014). Por outro lado, apontam para questões acerca da forma como o poder e as instituições lidam com estas manifestações, o que remete para a sua instrumentalização, institucionalização e mercantilização, mas também para a patrimonialização e preservação deste legado (Campos, 2021;Campos e Barbio, 2021;Pavoni, 2019). Por último, salientam a adulteração a que se tem assistido, com a arte urbana a encaminhar -se num sentido que contradiz o seu espírito original, de índole popular e marginal (Schacter, 2014).…”
Section: Introductionunclassified